In the late 1980s, Naxos released a perfectly decent bargain version of
Rodeo,
recorded in Bratislava under the direction of Stephen Gunzenhauser.
Listening
to it again it’s still very enjoyable. However, the label has steadily
progressed
over the years and in this latest offering Rodeo isn’t just a
good
bargain version. It’s a very good version at any price and should be
snapped
up by anyone remotely interested in the music of Aaron Copland.
In Rodeo Leonard Slatkin doesn’t match the snappy, hard driven
virtuosity of Bernstein on CBS - nobody does - but many find that disc
lacking in relaxation and quite wearing. The general approach in Detroit is
somewhat more laid-back - refined, even - but that doesn’t imply that
the execution isn’t rhythmically tight. This is playing of the highest
calibre and time and again Slatkin reveals details that can be hidden or
glossed over in other recordings. The timings for the opening Buckaroo
Holiday are 7:00 (Bernstein) and 7:55 (Slatkin). In listening to both,
putting the hair-raising Bernstein virtuosity to one side for a moment, I
find the Slatkin to be more engaging and involving. It doesn’t just
pass you by; it draws you in. From the opening bars you hear a deep sonorous
bottom end, full-toned brass, clean string sound and biting transients.
Later on the throatily realistic double bass section introduces some
trombone playing that just about stays this side of becoming tasteless. The
glissandi are pretty outrageous but it’s a piece that’s full of
fun at the end of the day. The extended version of Saturday Night
Waltz includes an entertaining honky-tonk piano solo. Corral
Nocturne is suitably sensuous and the concluding Hoe-Down clocks
in at 4:47 compared to 3:06 (Bernstein), 3:16 (Gunzenhauser) and 3:18
(Johanos/Dallas, a fine disc on Vox). These timings are somewhat misleading.
Admittedly, Slatkin does take the music at a slightly slower tempo than
usual but he also includes a substantial section of music that isn’t
to be heard in the other recordings. It brings Rodeo to a very
satisfying conclusion.

I have never heard Dance Panels before and quite frankly
I’m amazed that such a great piece has been so overlooked. The music
is closer to the sound-worlds of Quiet City and Appalachian
Spring and makes a welcome contrast to the preceding Rodeo. The
music is gentle, ruminative and sophisticated in nature. Even in the more
invigorating passages such as the Scherzando of the third movement
and the mercurial Con brio of the fifth section (a percussion
showcase) the orchestration remains controlled and the very opposite of
brash. The woodwind excel throughout and there are some gorgeous sonorities
and beautiful tunes. This is Copland at his finest and it’s quite a
find. I challenge anyone not to fall for this music.

The two fillers are despatched with aplomb. El Salón
México
is superb, opening as it does with its sleazy trumpet solo and cheeky
bassoons.
Slatkin yet again demonstrates that music such as this doesn’t have to
be
fast and furious to make its mark. The slow sections conjure up scenes of
lazy
days in the sun and that’s what Mexico, as pictured by the composer,
should
be all about isn’t it? The playing is never over the top. It’s
done
with great taste and refinement but there’s not one boring bar to be
heard.
All the orchestral soloists have a field day. The closing bars are as
thrilling
as you could wish for. The concluding Danzón Cubano, one of
Copland’s
real pot-boilers, brings the disc to a rousing end.

In summary, this is a great CD featuring top recommendations for
Rodeo
and El Salón México and a wonderful rarity in the shape
of
Dance Panels that I urge everyone to hear. The Detroit Orchestra, in
superb
form for their inspirational conductor, are captured in spectacular and
beautiful
sound.